The Crossings of Art in Ireland by Ruben Moi, Brynhildur Boyce, Charles Armstrong

By Ruben Moi, Brynhildur Boyce, Charles Armstrong

The essays during this quantity discover interartistic connections in Irish literature, drama, movie and the visible arts. inside of glossy and postmodern tradition, innovation is frequently pushed via magnificent interrelations among the humanities, and this publication bargains a dialogue of this phenomenon and analyses a few artistic endeavors that stream throughout disciplines. a number of individuals learn the idea that of ekphrasis, how Irish writers reminiscent of Seamus Heaney, John Banville, Paul Muldoon, Ciaran Carson, Patrick Kavanagh, W.B. Yeats and Samuel Beckett have answered to the visible arts. Others discover interartistic ‘crossings’ within the drama of Brian Friel, in James Barry’s eighteenth-century Shakespeare work and in modern Irish movie. jointly, the essays current a clean standpoint on Irish creative tradition and open up new avenues for destiny research

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In opting for an approach that is finely attuned to the singularity of Muldoon’s poetic encounter with Early Modern precedent, Johnson’s reading demonstrates the continued vitality of post-structuralist resistance to homogenizing protocols of interpretation. In this respect, it joins forces with the celebrations of marginality that are to be found in the essays by Karhio and Barber, and the insistence upon thematic diversity evinced by Olinder and Moi. Yet post-structuralist methodologies are not the only voices that make themselves heard in this collection: the essays of Wrethed and O’Brien show that what might be construed as subtly essentialist desires – for truer and more authentic forms of life – have not been banished from the scene.

So the computer system crashed. 54 On the other hand, if the computer is but an innocuous marker of a temporal gap to be bridged, then surely any number of other technological time-markers would have suf ficed for this purpose, say, television or aeroplanes. Thus, it would appear that the computer is very specifically the choice technology for a ‘present’ that is Roland Barthes, ‘The Death of the Author’, in Image, Music, Text (London: Fontana Press, 1977), 146. 53 Friel, Performances, 7. 54 Gadamer, Truth and Method, 186.

The dialogue between Anezka and Janáček enacts a dialectic that asks whether artforms have an integral meaning tied to source and origin, or whether meaning arises from our (subjective) experience of artworks. Thus, it becomes somewhat apparent that in attempting an interpretation of Performances we enter a sort of circular interrelationship between the concepts of source, theme and subject matter alongside the overall matter of meaning that draws us into the workings of the play. This is a terrain that we might recognize as the hermeneutic circle, which, in its most basic formulation, refers to that paradox of meaning whereby we can only make sense of the whole by consideration of its parts, but only by considering the whole can we make sense of the parts.

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